This week, Ritva hosts a black-and-white challenge, one of my favorite genres; however, she adds an extra bit of spice. She writes, “At Lens-Artists, we’ve explored minimalism and black-and-white photography separately, each offering its unique perspective and emotional depth, but when these two styles are combined, they create a powerful and engaging atmosphere that resonates deeply with us on multiple levels.” You can read her entire challenge post here.

I begin with the most extreme example of black-and-white minimalism rolled into a single image. Over the weekend, we visited Barrio Viejo—a Tucson neighborhood with the largest surviving collection of adobe row houses in the United States. Its doors, whether weathered, decorated, or boldly stylized, draw photographers and artists alike. My first door is a study in high-contrast architectural minimalism, offering just enough detail to suggest a doorway.

This door offers a quiet lesson in style and craftsmanship. Its beautifully weathered surface may have endured over a century of Arizona sun—or perhaps it was restored with its original character preserved. I’ll never know for sure. What I do know is that, in converting to black and white, the texture and tonal contrast had to remain untouched, honoring the story etched into its grain.

Barrio Viejo’s adobe row houses date back to the mid‑1800s, built in the Sonoran tradition and later adapted as new influences arrived in Tucson. Their thick walls, simple lines, and repeating facades create a natural rhythm that works well in black and white. The lack of ornamentation puts the focus on shape, shadow, and texture. This final door, with its paired design and matching fixtures, clearly shows the pattern. With the architectural series complete, I shift to a different kind of minimalism—one created by apparent motion rather than structure.

The Adamski style is a form of minimalism built on motion, abstraction, and soft tonal transitions, usually created through intentional camera movement. In this case, I simulated the effect in post‑processing by applying directional motion blur to the background and then layering the sharply focused subject back on top. The result keeps the essence of the technique—smooth, blended tones and a simplified horizon—while giving me full control over the final composition. A black‑and‑white conversion in Silver Efex 3 completed the process.

As a fan of classic cars and professional auto auctions like Mecum and Barrett-Jackson, I always take a camera. While wandering among the cars for sale, I try to keep my photos from all looking the same. Minimalism helps. Sometimes it’s a chrome strip, a hood ornament, or—like in this case—the entire front end. This Edsel, with its bold vertical grille and mirrored headlights, offered perfect symmetry and strong industrial lines. In black and white, the chrome pops, the shadows deepen, and the design becomes the subject. It’s minimalism through repetition and reflection.

This image is an example of detail minimalism—not because the frame is empty, but because the subject stands out with purpose. The tail fin and taillight are the focus. Their bold shape, chrome detail, and vintage styling carry the whole frame. The background has some reflection and blur, but it doesn’t distract—it supports. That’s what I mean by detail minimalism: one strong element doing all the work. The conversion to black and white, along with a strong vignette, adds drama to the tail fin, a design element so prominent in the mid-20th century.

Low‑key organic minimalism follows the same principles as its man‑made counterparts, but the source of simplicity shifts from engineered lines to nature’s own design. Instead of isolating a mechanical structure or architectural edge, this approach focuses on a single living form—here, the peace lily’s textured center spike and its elegant, hood-like white leaf. The nearby waterfall softens into darkness behind it. A lowered exposure setting and dark vignette create the same intentional separation used throughout this challenge response.

It’s time to put a pin in my response to this week’s challenge. Ritva’s unique blend of photographic styles made this one a pleasure—both in taking a few new images and in revisiting others that I reprocessed specifically for her theme. For those who enjoy pixel‑peeping or digging into metadata, the full gallery is available in 2K HD on my Flickr site here.

Last week, Anne hosted the Lens-Artists challenge featuring “What’s Around the Corner?” It was a treat to see everyone’s neighborhood views from their walk around the block. The next challenge drops on Saturday, January 24, at noon Eastern time. Egidio will be hosting, so be sure to follow him here so you don’t miss his post when it goes live. If you’d like to join in with your own photos, you can find more information here.

John Steiner